تقويم التكوينات الخطية في جدران العتبة الحسينية المقدسة == Evaluating The Calligraphic Formations On The Walls of The Holy Husseini Shrine
Author name:
جواد كاظم حداوي
Supervisor name:
جواد عبد الكاظم فرحان الزيدي
General topic:
Fine Arts
Specific topic:
Calligraphy and Decoration
Degree:
Master
University:
University of Baghdad - College Of Fine Arts - Arabic Calligraphy And Decoration Section
Language:
Arabic
University location:
Baghdad
First pages:
18T1167 - p.pdf
Abstract:
The Arabic calligraphy art is considered one of the great and distinct products in the Islamic art history, which cover wide areas in the Islamic architecture, including the walls of the holy Husseini shrine, until they gained Islam's indication and became resembling its symbol according to its function in the font of the holy Quranic texts, where this characteristic formed a strong incentive to seek its development. The emergence of the calligraphic formations is one of the products of this continual endeavor, and an advanced stage at the level of technical and expressive development as well as one of the natural products generated by the font development and the increase of their functioning methods through what they registered at the level of formal characteristics and the systems of their formational levels. Yet, the absence of the analytical critical aspect of these works led to the weakness of aesthetic visions to them, in that these products were not confined to only calligraphic accommodations, but they reflected a constructiveness of calligraphic and decorative varieties according to various showing techniques. Because this topic was not studied in a form that clarifies the aspects of weakness and defect or strength and quality in calligraphic formations, and this can be achieved by the extent of their convergence and divergence from their artistic and rule properties as well as their executive techniques which focus totally within the topic (Evaluating the Calligraphic Formations on the Holy Husseini Shrine); therefore, the researcher sought in the first chapter of his study to pose the problem in the following questions : • What is the artistic evaluation criterion of the calligraphic formations on the walls of the holy Husseini shrine? • What is the artistic evaluation of the calligraphic formations on the walls of the holy Husseini shrine which is built on the base of this criterion? In order to arrive at the desired results, the research aims at identifying the calligraphic formations on the walls of the holy Husseini shrine through the study of artistic and rule properties of the calligraphic formations on the walls of the holy Husseini shrine and the systems of their formation levels and executive techniques. The researcher defined its research population for its current position (1433AG/2012AD). The axes of the theoretical framework in the second chapter based on topics like (the origin of wall calligraphic formations, the artistic and rule properties of the calligraphic formations on the walls of the holy Husseini shrine and the executive techniques of the calligraphic formations on the walls of the holy Husseini shrine). As to the third chapter, it was dedicated to display the research procedures which population included the calligraphic formations mounted (40) examples from which the researcher selected his purposeful samples mounted (10) examples, which formed a percentage of (25%) out of the total population. He followed the descriptive method making use of the instrument represented by an analysis form constructed on several axes on which validation was supervised by a group of experts in this domain, as well as it included the sample analysis. While the fourth chapter comprised of a display of (results, conclusions, recommendations and proposals). Through analyzing the selected samples, a group of results emerged as the following : Through analyzing the selected samples, a collection of results were shown as follows : 1 - Some letters in all samples were written in a way that contradicts the structure of the real letters and some of which were effaced in addition to the clear abuse of their positions and bases in a way irrelevant to the Arabic calligraphy whatsoever. 2 - The reduplicating line decreases the clarity and readability at the vision level in terms of the place of calligraphic formations on the wall, which manifest its specialty where its letters' size is more accurate that the letters' size of the evident or normal Thuluth font when written with the same pen, as in example (1). 3 - Among the aesthetic characteristics of Naskh and Thuluth fonts, the location of the construing and decorative movements add a sobriety and beauty on the calligraphic line and fulfill a functional and aesthetic harmony with the letters and words which is obvious in example (2). 4 - The calligrapher did not consider the interval ratios among the lines and sentence paragraphs in the sample examples, and the non - proportion in size among them, for they form the most important fundamental pivots in the constructional map of the calligraphic formation, which was not previously laid as well as the absence of the technical experience required for achievement which formed a constructive malfunction for these examples. As to the most important conclusions, they were represented by the following : 1 - The location of the construing and decorative movements adds to the calligraphic line a sobriety and beauty and fulfils a functional and aesthetic harmony with the letters and words, yet the nonuse of construing and decorative movements in fulfilling their goals which were found for them made the interaction with the calligraphic achievement weak and unable to motivate the receiver's aesthetic taste. 2 - The non - writing of the calligrapher's signature and the date of achievement in all samples form a phenomenon of plundering the artistic rights and effacing the artistic phenomenon which should be supported and documented because it accounts for the presence of calligraphic art and its future. 3 - The construing and decorative movements were written in a way uncommitted to the standard norms and rules put for them; therefore, their forms came cadaverous and they were unsuitable to be used in the formations of the clear Thuluth font. In continuance with the results and conclusions, the recommendations and proposals came followed by a list of references, figures and appendices, and then the researcher ended the research with its English abstract.
